DUTCH POETRY AND ENGL1SH
definitely to have it in mind to experiment here. A remark that applies also to his far less ordered manipulation of enjambement. Alongside "Endymion", no other poem bulks largely in the allegorical scheme of "Mei". But a number of others are given minor parts to play. Of these, fittingly, Hyperion comes first in order of importance. Most notably is this masterpiece drawn upon to enlarge the famous Moon-episode, Gorter splendidly adapting the picture at the end of Book I of "the bright Titan, phrenzied with new woes":
"De Maan en Mei wier overvloedig haar De moederbuik bewolkte. In den nevel Zoog zij haast sluimerend; als door een hevel Uit een vat in een ander, stroomde melk Uit moeders tepel in de mondekelk."
But when the Dutch poet also gives us:
"Om Mei dacht hij niet meer, maar stapte door de Hemelen, schrijdend heen en weer, gekleed In een sleepmantel van geluid, die breed Achter zijn voeten aangolfde"
we seem almost to have that first great vision of proud Hyperion:
"His flaming robes streamed out beyond his heels,
And gave a roar, as if of earthly fire."
For the rest, the most noteworthy fact by far, it seems to me, is that Gorter stands practically alone among his fellow-Keatsians in Holland in having drawn upon the odes and tales of romance; though even here it is no more than in occasional fancies, extended metaphors, and elusive turns of phrase that the influence is reflected. If we attempt to venture any further we tread upon very thin ice indeed. Dekker, fresh from his masterly analysis of "Mei" — a notable piece of scholarship, and perhaps his own most penetrating piece of criticism — does go out, with his customary boldness, to pin matters down; but my own courage, I am afraid, is not equal to accompanying him in the task.